Don Cunningham

I have an extra XLR power cable if you still need one. PM me.

Cinelab in the US has such services. I have not utilized this service yet, but hope to in the future: https://www.cinelab.com/#/maritime/

I'm going through the filing and see he listed his own painted artwork with values attached. Wonder if they would sell that much at auction. The business was listed in Utopia previously but the address for the owner is now listed as Cedar Park. Seems to be quite a story in there.

There is not a definite answer as each studio and/or label works differently. One case is (Horror of) Dracula. BFI released their "restoration" on blu ray in 2013. Well, lots of folks started to claim it had a blue cast to it. There was even a documentary video and the person grading the restoration spoke oddly, almost stating that he was providing what HE thought it should look like (it's been some time since I've seen it so don't hold me to it). After some nagging from fans, Warner Archive released a disc in the US in 2019. They utilized the BFI master as a starting point but referenced IB Technicolor prints. What they released was almost on point with 35mm presentations. I had owned a 35mm Technicolor pint and screened it in 2018 so do know first hand. Here are grabs from the two Blu Rays and a cell phone picture from the showing of my print. In the end, it depends who is on the team and the budget.

The original negative is the preferred source for best presentation. However there have been instances where a print or notes have not been referenced while grading and things such as day for night have not been done on the new grade. That can really stick out when you have vampires out in daylight!

I have provided elements from my film collection to a couple of labels over the past five or so years and each one worked differently. What I have are print elements for films in question, but different versions than what was made available by the studio or licensor. Two very different outcomes. Label 1 - I offered them access to my 16mm print for a fresh scan, an over the air VHS recording from the 1980's, and a low-end telecine I had made a few years prior via a moviestuff sniper unit. They did not want to spend any additional money, so went with the later which I felt was not good. The presentation looked awful. Label 2 - I offered them access to a 16mm partial print which they wanted scanned in 2K. Now, in this particular case this is the only found element with English titles known to currently exist and the only film based element with certain variant scenes. The label paid to have it scanned at 2K and I paid the slight difference to have it done at 4K for posterity. Other sources had to be "spliced" into the final master for the export version because my print is incomplete. This has just been released. It comes down to budget and who is producing the disc. Label 1 was a higher end non-studio label and label 2 is a boutique label. I will say that the boutique label was a pleasure to work with.

If you want Black and White, shoot black and white. I just completed a short that used an 85/15 mix of fresh and expired/dated film stocks. Testing the various dated stocks wasn't feasible, so I just loaded the Bolex and went..keeping like batches together. Some 7231 came out gorgeous just as if it was fresh! Then I had two rolls of 7222 that must have been stored in the worst way. In the end I made it work for the project.

Composer Andreu Jacob has published a mini-doc on his work on my recently completed short film "The Castle of Baron Finch." I am by no means professional, semi-professional, or trained. The only cinematography experience I have is hands-on working with film as an enthusiast and trial/error. I have a BFA in theater which led me to work completely unrelated such as a stint in the Army, haha. The short film took 6 years to complete and is based on a stage play I wrote over 25 years ago; this is the movie I always wanted to make. Because this was self-funded with meager paychecks, the project was filmed in bits here and there as I could. The 16mm stock was a mix of fresh and expired/unknown origin. The choice to shoot as a silent was to not need special equipment or crystal synch cameras and give me the ability to use what I had on hand or acquire at a more affordable cost. Andreu was interested in doing the scoring when I reached out in 2018 (before any filming had started). After seeing the completed piece, it was worth the wait. Some scenes can be seen in the doc below (taken from a proxy file sent to him).

Selling my Canon 310XL. I've shot about 6 cartridges with it during the past 6 years with the last one being 2 years ago. Listed here https://www.ebay.com/itm/145372795206 and video of it running here:

That's a great video. My last job was as an accounting clerk (4 years) for a mom/pop metalworking shop until it closed down. Mostly oil gear, but also did some weapon stuff. It was fascinating to see a process from drawing to final product. So much time and money needs to be invested into the tooling and set-up, dialing everything in to meet tolerance, testing, reconfiguring, running samples, etc.

OK, I did find the pulldown claw in my camera (VERY tiny) and reviewed the full aperture scan. The frame movement is minute when viewed open, but when cropped down does become noticeable. I did a brief shot at 64 fps and you can really see it move, but I did shoot everything else at 24 fps and the movement isn't noticeable until zooming in on the frame. I'll see what it's like when cropping out the frame lines.

I loaded it correctly. Will need to recheck the camera this evening and maybe post a clip in a separate thread.

My wife gave me a Beaulieu MR8 this past Christmas. I purchased some 50D color negative and gave it a test run late April. The film made it back to me Tuesday after processing and scanning (Lasergraphics Scanstation). I noticed movement of the frame lines from the sprockets. The image and footage is good, but I just notice this with the overscanned image. Is there/should there be a pulldown claw in the gate on this camera? When I loaded it I could not feel one.

What film type(s) did you scan? 35mm, 16mm, color, black and white, negative, reversal?

Just when using the external motor and magazine.

A screenshot of the slipping at the end of the footage. Note the claw scratch between the perfs and the frame line out of place. This intensity is only during the final 40 or so feet of film

Here is a short video showing the issue I wrote about above when using the external motor and magazine. The first shot is from the first 100 feet of the 300 foot load. The second shot is toward the end of the 400 foot load. Perhaps the belt is having a difficult time keeping up with the weight of the film takeup?

I was looking into this yesterday as I have the EXACT same issue as mentioned earlier: My footage in the magazine looks OK initially but eventually begins to get some vertical smearing. Picture looks stable for the most part, but as the end of the 400 feet gets closer, frame jumps start to occur. I'll post some video of the issue soon. Do spring belts ever need replacing?

As the title states I am only looking for an eyepiece for the Pan Cinor 85 zoom lens. I have the lens which is in working order, however I just need the viewfinder so I can frame accordingly on my Filmo 70 HR.

Could be something amiss in the movement. Do you know if the spring was wound when stored?

What were the conditions of storage (interior room, exterior shed, cardboard box, camera case)?

I had one that came in a lot of projectors I bought at a university I used to work at. The image was decent for reviewing footage on a small monitor, but the camera had issues and didn't work properly. I ended up selling it for parts and that basically gave me some minor profit over what I paid for the lot of projectors. So, ensure the camera is in working order.

My two youngest sons (16 and 13) enjoy being on my current short film shoots with me. I have been teaching them how to use my Sekonic light meter and how that corresponds to the film speed and lens adjustments. While they get to pull the camera triggers (Bolex H16 REX and a Filmo 70 HR), I do the lens adjustments. They are fascinated with it and always want to come with me when I get to "do my hobby." I asked my 16 year old what his favorite part of the day was when I took him on a location shoot for my short film. His response made me smile, "Seeing you in your element. Doing what you love and sharing that with me." When my project is over, I have some expired film set aside in the freezer for the two to have hands-on learning and fun with.

In the US, I ask for LOG files (no grading of any kind). Professional scanning entities know (or should) to adjust output for low contrast and low saturation.

You are correct in that you will want to ask for "flat" files. It seems that the facility may have given you a one-light or best-light grade.